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THE

MARCH 2022

INTERIORS GOOD ENOUGH TO FRAME

ART ISSUE

MEET THE RISING STARS OF THE CRAFT RENAISSANCE 10 BEST-IN-GLOW LIGHTS WE LOVE ON THE COVER: PUTTING THE POW IN POWDER ROOM

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CONTENTS

THE ART ISSUE

80

98

108

CURVE YOUR ENTHUSIASM

A CLASSIC TWO

HEART OF GLASS

At William Cullum’s studio apartment in Greenwich Village, a pair of rooms feels like a palace.

How did a Tiffany window become the centerpiece of a jewel-box South Florida home? Ask Rodney Lawrence.

BY BEBE HOWORTH DESIGNER WILLIAM CULLUM

BY JULIE L ASK Y DESIGNER RODNEY L AWRENCE

For Nicole Hollis, transforming a San Francisco landmark into a home took a star turn of creative ambition.

BY INGRID ABR AMOVITCH DESIGNER NICOLE HOLLIS

72

90

102

114

HER ROMAN EMPIRE

OUTSIDE THE BOX

MAKE IT WORK!

BUILT TO LAST

Near the Piazza Navona, an art scholar has created a timeless home filled with beauty and history.

See how one gallery owner made the grounds of his Hamptons home a stylish showcase for the work he sells.

A 1970s Eichler house in the Bay Area shows its staying power for an art collector and her lively young family.

BY MARELL A CAR ACCIOLO CHIA DESIGNER CAROLINA VINCENTI

BY HIL ARIE SHEETS DESIGNER ALEX LOGSDAIL

These five rising stars of American design are bringing traditional techniques firmly into the 21st century.

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ELLE DECOR

BY CAMILLE OKHIO

BY KELSEY KEITH DESIGNER ATELIER DAVIS

Subscribe to ELLE DECOR at elledecor.com/subscribe

DOUGL AS FRIEDMAN

IN THE LIVING ROOM OF A SAN FRANCISCO HOME DESIGNED BY NICOLE HOLLIS (PAGE 80), THE SOFAS ARE BY COLLECTION PARTICULIÈRE, THE BRONZE COCKTAIL TABLE IS FROM FRIEDMAN BENDA, AND THE WALL ARTWORK IS BY MARK BRADFORD.

CONTENTS

28

EDITOR’S LETTER 31

WHAT’S HOT The best design discoveries 34

TRUTH IN DECORATING Joeonna Bellorado-Samuels and Leyden Lewis offer their takes on avant-garde home products by fine artists.

BY DORCIA KELLEY

38

SO COURANT Two New York City galleries are putting art and design in conversation. We’re listening 45

POINT OF VIEW How one collector learned to stop worrying and love her art.

BY JACOBA URIST

48

HOUSE CALL A couple’s modest proposal blossoms into an artful interior by designer Billy Cotton 52

SHORTLIST Chef and author Mina Stone shares eight things she can’t live without 54

SHOWCASE A bold new collection fetes Chanel’s design ingenuity— and love of the cosmos 56

TALENT A French fabric atelier opens a drama-laden New York City showroom inspired by the artist Pierre Le-Tan.

BY K ATHLEEN HACKET T

58

STUDIO VISIT How Diedrick Brackens marries the magical and the mundane in his artwork 61

BUILDER Bold, whimsical wallpapers are making a long-overdue comeback. Are your walls ready?

BY TIM McKEOUGH

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GUIDO TARONI

IN THE ENTRY HALL OF CAROLINA VINCENTI’S APARTMENT IN ROME (PAGE 72), THE 18THCENTURY COMMODE IS FRENCH, AND THE RUNNER IS TURKISH.

CONTENTS

122

RESOURCES 124

MY KIND OF ROOM Designer Stephanie Goto reflects on an immersive space for art.

66

FURNITURE FANTASY Janus et Cie’s distinctive outdoor collections prove the enduring appeal of great performance.

PRESENTED BY JANUS ET CIE

Scan the QR code below for exclusive digital tours of both art-filled and artful interiors!

THE LIVING ROOM OF A SOUTH FLORIDA HOME DESIGNED BY RODNEY LAWRENCE (PAGE 108) FEATURES A SOFA BY DMITRIY & CO. AND ARTWORK BY BEATRIZ MILHAZES.

ON THE COVERS LEFT: Interior: Green and White Couch, 2012, by Mickalene Thomas.

RIGHT: A fluorescent-lit powder room in a San Francisco home designed by Nicole Hollis.

PHOTOGR APH (RIGHT) BY DOUGL AS FRIEDMAN

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FENWICK NIGHTSTAND BY MADE GOODS $1,800. madegoods.com

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EDITOR’S LET TER

“ART M AKES TH E ROOM!” THAT’S TH E PH R AS E WE KE P T

repeating, with varying degrees of humor and seriousness, as we put together this issue celebrating the power of living with art. The homes in these pages prove the axiom true, filled as they are with canvases, sculpture, and more that elevate every interior—from an art historian’s deeply personal apartment in Rome to our newsstand cover story, a collector couple’s San Francisco Tudor Revival, designed

by Nicole Hollis and renovated by architect Stephen Willrich to accommodate the family and their blue-chip collection. Of course, art can be much more than just a pièce de résistance—it can be a means of resistance to boredom, to despair, and to cultural erasure. Art may make the room, but it also makes room—for self-reflection, delight, and memory—just as our homes do.

In her paintings, photography, assemblages, and more, Brooklyn artist Mickalene Thomas has frequently investigated these themes and the idea of art as a portal to deeper beauty, memory, and a sense of community.

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We are so honored to have her piece Interior: Green and White Couch grace this year’s special-edition cover. I encountered Thomas’s work at her first major solo show a decade ago at the Brooklyn Museum and was immediately bowled over by two things: the Black women (several reminded me of my own family members) whose beauty she celebrates at totemic scale, and the lushly layered, 1970s-influenced interiors rendered in patterned paper, paint, and rhinestones in which these women were seated, resplendent. Her work embodies an idea to which this editorial team often returns: that art can reframe our understanding of our spaces and, by extension, of ourselves. I hope you enjoy reading this issue—and engaging with its stories about how and why we live with art now—as much as we enjoyed assembling it. ◾

@as4d

PORTR AIT: NAIMA GREEN; ART WORK: INTERIOR: GREEN AND WHITE COUCH (2012) BY MICK ALENE THOMAS

ART MAKES THE ROOM

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GOOD TO GLOW The best new lighting celebrates form, function, and the fantastic.

EBELL LAMPS For her latest Tech Lighting line with Visual Comfort, designer Kelly Wearstler says the added functionality of the LED technology allowed her team to focus on materials, such as the domed glass prisms sourced from Italy, on these table and floor lamps.

15″ w. x 66″ h. and 4.5″ w. x 6″ h.; $2,298 and $438. circalighting.com

ELLE DECOR

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W H AT’S H OT | T H E B ES T D ES I G N D I SCOV E RI ES

CAMELLIA NOIR This delicate floral chandelier by New Zealand–based artist Jeremy Cole is handmade with porcelain ceramic petals and also comes in white.

37″ dia. x 26″ h.; price upon request. jeremycole.net

MEGALITH WALL SCONCE Nina Magon’s wall sconce for Studio M will bring a touch of the future into your home: Its iridescent glass panels are dichroic, showing varied colors from different angles.

7″ w. x 7″ d. x 16″ h.; $705. studiomlighting.com

LURE EDEN MIRROR POST This floor-to-ceiling bronze light fixture and mirror by Pelle includes handsculpted flowers that embellish the beauty of the beholder.

36″ w. x 30″ d. x 133″ h.; $38,500. pelledesigns.com

FLOU FLOOR LAMP Ever inspired by nature, product designer Sophie Larger modeled this Roche Bobois floor lamp after the bird-of-paradise flower.

HALO CHANDELIER PALM FLOOR LAMP The unique form of this Blue Green Works light is thanks to the hand-rolled, kiln-slumped glass on its polished-steel frame.

15″ w. x 15″ d. x 51″ h.; $13,500. bluegreenworks.com

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Eny Lee Parker morphed her signature forms into this ceramic pendant, shown at Objective Gallery during Design Miami.

34″ w. x 8″ d. x 23″ h.; $22,000. enyleeparker.com

LUMIERE NUANCE Introduced in 1990, this lamp

by Rodolfo Dordoni for Foscarini gets a fresh look with a new butter-yellow hue.

10″ w. x 18″ h.; $1,091. foscarini.com

PALM FLOOR L AMP: JOSEPH DE LEO; HALO CHANDELIER: SEAN DAVIDSON

85″ w. x 95″ h.; $2,860. roche-bobois.com

T RU T H I N D E CO R AT I N G

1

3

2

OEUVRE THE TOP Jack Shainman Gallery director Joeonna BelloradoSamuels and designer Leyden Lewis offer their takes on avant-garde home products designed by fine artists.

DORC IA KELLE Y

1. THÉORÈME BOX

BY NIGEL PEAKE

JOEONNA BELLOR ADO SA MU ELS: Allowing an artist to mine an archive injects such thoughtfulness and energy.

LE YD EN LE WIS: The eye is drawn to the geometry of the sensuous cutout forms.

10.5″ w. x 10.5″ d. x 3″ h.; $1,325. hermes.com

4. CHAIR II BY SIMONE BODMERTURNER

J BS: It’s such a sculptural piece—an organic anchor to any room.

LL: The shapes and lines redefine the illusion of what a chair is.

4

20″ w. x 30″ d. x 40″ h.; price upon request. mattermatters.com

2. OE QUASI LIGHT BY OLAFUR ELIASSON

LL: This alludes to a powerful talisman; a transcendent object of the past that has been unearthed.

J BS: When I am home, I crave fixtures like this that have something to say.

32″ dia. x 35″ h.; $19,870. louispoulsen.com

3. RELICS STOOL BY CAMERON WELCH LL: The humor and joyfulness of this piece come from an unexpected mixture of materials.

J BS: I love how Welch strikes that difficult balance between freneticism and symmetry.

16.5″ dia. x 18″ h.; $10,850. konektstudio.com

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5

5. MATILDA SHAPE RUG BY TGF X LITTLE PROBA

J BS: I see abstracted topographic landscapes.

LL: Like any great piece of conceptual art, there’s a harmony of color and form.

3′ x 3′; from $490. probahome.com

BELLOR ADO - SAMUELS PORTR AIT: SHOT TI; LEYDEN PORTR AIT: AL ARIC CAMPBELL; STOOL: JOSHUA OLLEY; CHAIR: ANASTASIIA DUVALLIE

BY

T RU T H I N D E CO R AT I N G

6

7

8

6. BOMBOM TUTTI FRUTTI RUG BY JOANA VASCONCELOS

LL: This evokes memories from childhood—playing with Play-Doh and deflated balloons.

J BS: The way the colors and forms interact is divine.

6′6″ x 9′10″; $5,345. roche-bobois.com

7. ERYKAH BADU TEAPOT BY ROBERTO LUGO

J BS: A beautiful juxtaposition of classical and contemporary designs.

LL: Lugo’s whimsy and lack of convention here would bring personality into any space.

8″ w. x 5.5″ d. x 11″ h.; $5,000. villagepotter215.com

9

8. DORADO WALLCOVERING

BY LISA HUNT

LL: Hunt is a wizard of proportion and repetition.

The balance is created through pattern and contrast.

J BS: This will be my superluxe dream bathroom wallpaper.

10

9. FLORA CABINET 176 BLACK BY MARCIN RUSAK

10. ROCK.01 SINK BY DANIEL ARSHAM

69.5″ w. x 22″ d. x 55″ h.; price upon request. twentyfirstgallery.com

23.5″ w. x 15.5″ d. x 9″ h.; $4,000. kohlercollective.com

J BS: These are the most incredible florals I have ever seen.

LL: Sculptural pieces like this ask questions about the spaces they occupy.

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LL: It’s organic surrealism; with our constant handwashing, bringing interest to the experience is ever more important.

J BS: Arsham knows his materials, and it shows.

CABINET: MATHI JS L ABADIE

$120 per yd. weitznerlimited.com

SO COURANT At Salon 94, works from Daniel Hesidence’s exhibition, “Carrier,” are installed in the secondfloor Stone Room, primarily used to show sculpture and featuring cored limestone sconces by Max Lamb. BELOW: The neo-Renaissance staircase spirals around a custom chandelier by Philippe Malouin. Constructed of a series of 45 glass chute molds, it is suspended from the original gantry.

BELOW LEF T: The firstfloor bathroom is wrapped in one-inch-thick matte blue Tajimi tiles designed by Max Lamb. salon94.com

galleries put art and design in conversation.

We’re listening.

BY

SE AN SANTIAGO

J E A N N E G RE E N B E RG RO H AT Y N ’S

Salon 94 is a New York institution.

The former residential building on Museu m M i le was con str ucted between 1913 and 1915 for Archer M. Huntington and his second wife, the artist Anna Hyatt Huntington, who used the ballrooms to exhibit her own sculptures. That it should fall decades later into the capable hands of gallery owner Greenberg Rohatyn 38

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and her frequent collaborator, the a rc h ite c t R a f a e l V i ñ ol y—w h o designed her own home as well as the gallery’s other outposts—seems appropriate. The tension between the historical and the industrial is mined throughout to moving effect.

“I like the ceremony of looking at art,” says Greenberg Rohatyn. “It’s both a necessity and a luxury, and I love those two aspects of it.”

GENEVIEVE GARRUPPO

LET THEM ALL TALK Two New York City

As many art experiences migrate to the metaverse, it’s increasingly easy to take for granted good spatial design for viewing art right here in the real world. Two Manhattan galleries are offering up a bold reminder in newly renovated spaces: Salon 94, in a Beaux Arts mansion uptown, and Company Gallery, in a former commercial storage center downtown.

Both have evolved beyond the clichéd white-box approach and provide a sense of community and space for dialogue—room to discuss how art can shape our lives, our culture, and our world. Happy viewing.

SO COURANT

“It was very important to me that it was accessible on all levels, not only physical.”

—SOPHIE MÖRNER

ABOVE: Company Gallery’s basement is home to the very pink Sophie’s, a private “speakeasy” inspired by the Berlin bars Roses and Möbel-Olfe. RIGHT: The exterior of the building was painted silver. It showcases graffiti by local writer Miss 17. companygallery.us

ABOVE: A still from Barbara Hammer’s Sync Touch, 1981, shown as part of the gallery’s inaugural exhibition, “Tell me there is a lesbian forever…,” curated by Tiona Nekkia McClodden. The

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basement level of the gallery is the first floor’s antithesis: an allconsuming “black box” viewing space. “It’s something that definitely evokes different behaviors,” Daniel Rauchwerger says.

Gallery is one of the city’s preeminent institutions for queer art.

Founded by Sophie Mörner in 2015, its new permanent home was a collaborative effort with Noam Dvir and Daniel Rauchwerger of the design firm BoND. “The brief was to think through with Sophie what this building could and should be, pushing us every step of the way to not go with the typical or the familiar,” Rauchwerger says.

The result is a sequence of dynamic, multilevel viewing spaces that defy expectation as much as convention: an open-plan ground-floor gallery that seamlessly integrates offices; an atrium gallery that opens onto the street, courting collectors and curious onlookers alike; and a basement-level “black box” viewing room that conceals, behind one wall, a private speakeasy. “There’s not so much a hierarchy,” says Rauchwerger. “There’s a sense of community in the world she’s created there.” ◾

CLOCK WISE FROM TOP: NICK GLIMENAKIS (2); COURTESY OF COMPANY GALLERY

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Future GOOD DESIGN PUSHES BEYOND THE LIMITATIONS OF TODAY. Outstanding design makes it feel like we’re already there. The Audi grandsphere concept is precisely this sort of forward-looking but instantly-familiar vision. As part of Audi’s sphere family, it offers a new interpretation of the future of luxury vehicles, made possible by electrification and automated driving technology which will liberate automotive design from its current limitations. “This freedom allows us to radically redesign the interior to make it a personal experience,” says Henrik Wenders, vice president at Audi.

“This freedom allows us to radically redesign the interior to make it a personal experience” — HENRIK WENDER , HE AD OF BR AND AUDI

Designed from the inside out, the grandsphere concept brings the glamour and comfort of a private jet to the road. This begins with “priority boarding”, with which the wide double doors open as you approach. The front of the car becomes a first-class lounge, with the steering wheel and pedals hidden behind more sustainably-sourced wood veneer paneling until needed. The rest of the cabin design fades away, with wide glass surfaces and a transparent roof creating an airy, open feeling. Eye-tracking and gesture recognition software power the intelligent, intuitive infotainment system: use it to enjoy a movie while relaxing with a beverage. Though the grandsphere is purely a concept, its innovative thinking is a reality, one which will soon find its way into Audi production cars. ■

OPPOSITE: The dramatic front end features a striking new light design ABOVE: The interior delivers a personalized experience, adapting to individual needs LEFT: With the grandsphere concept, Audi delivers a new interpretation of the luxury sedan

Luna Kaleido by Gabriel Scott

POINT OF VIEW

COURTESY OF GALERIE LELONG & CO. NEW YORK

Earfquake (Tyler, the Creator), 2021, by Tariku Shiferaw.

SAFETY NOT GUARANTEED

How one art collector learned to stop worrying and love the chaos.

BY

JACOBA URIST

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W

e’re seldom able to pinpoint the catalyst for a total change of heart. But I know the moment my approach to living with art shifted. It was March 24, 2020, when Brooklyn sculptor Alyson Shotz shared an achingly poignant image on Instagram—one of wilted flowers in a slouched earthenware vase. It was a long-distance collaboration in a time of vast separation between Shotz and fellow artist Carrie Mae Weems. Based on her Recumbent Fold series, where Shotz drops unglazed porcelain slabs from varying heights to the ground, her vases are made as gifts for friends like Weems, who took the photograph. With the art world in free fall, I desperately wanted to telegraph my deep personal support to artists, who I’ve long held are essential workers. So I bought a vase.

For the previous 15 years, I had followed a strict axiom that all the artwork I acquired had to be protected by glass—no exceptions.

There is no way to protect ourselves or our treasured objects from the unknown.

As an art journalist, filling my New York City home with works that reflect my values and aesthetics is an imperative. I took no chances with my prized Tara Donovan and Ed Ruscha prints or my Zipora Fried drawings, which I made sure were forever safe from a handsy toddler or the cocktail of a gesticulating friend. New Yorkers, after all, exist vertically.

One time, our upstairs neighbor left the bath running and water seeped through my ceiling, dangerously close to, a mong other things, a Clifford Ross photograph appropriately depicting a crashing wave.

Luck i ly, t he piece was shrouded in museum glass.

So up to that point, sculptures, which are exposed and vulnerable by nature, 46

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were verboten. I convinced myself, however, that a semifunctional vase wasn’t quite a sculpture. Surely with the world in quarantine, I could shield this modestly scaled object from ruin.

Months passed. The weight of a new reality settled on the city.

My bedroom became my office, papers and coffee cups coalescing on every surface. Yet during the chaos, I kept breaking my rule. The next acquisition was a work on canvas (sans frame!) by artist Fred Wilson, who is known for upending cultural symbols. The painting I selected renders the western Sudan flag devoid of color, a stark motif Wilson uses to reveal the flux of African history. The speckled cotton background evokes the slave trade. Whenever I start to fret about its durability, I hear the voice of the famous late collector Donald Marron telling me to “trust the art.” This was his philosophy, according to his son, as he and his sister raced haphazardly on scooters around the household. If you just trust the art, everything will be OK. This past fall, I took the plunge on a second sculpture, a piece by Charles Lutz that rethinks Andy Warhol’s Brillo Boxes of the mid1960s. Lutz taught himself to replicate Louis Vuitton’s handcrafted trunks, pushing Warhol’s concept of authenticity to the extreme. There sits my Brillo x Vuitton on the living room floor, in the path of my vacuum or my ABOVE: Recumbent Fold child’s bouncing tennis ball.

(Vase), 2020, by Alyson After the past two years, Shotz. BELOW LEF T: Zig I’ve realized that everything Zag Brillo (Black & Blue), 2017, by Charles Lutz. in life is fleeting—there is no way to protect ourselves or our treasured objects from the unknown. Yet artworks, like people, are surprisingly resilient and will weather near catastrophe.

I’m now awaiting the arrival of a new painting by Tariku Shiferaw, whose work, presented at Art Basel Miami Beach last year, stopped me in my tracks. The painting is composed of deep blue and shimmer acrylic, with Shiferaw’s signature black bars across the surface. It conveys immediacy, the colors of an urgent emotional and political landscape. I know the canvas might fade sitting beside casement windows. Or perhaps it will be otherwise damaged when a friend’s coat brushes against it during a dinner party I’m hoping to one day throw. These are risks I now embrace. Finally, I trust the art, which makes these works even more powerful. ◾

Jacoba Urist is an art writer living in New York City.

VASE: © ALYSON SHOTZ, 2020. COURTESY OF THE ARTIST AND DEREK ELLER GALLERY

POINT OF VIEW

C U STO M S H A D E S , B L I N D S & D R A P E RY H A N D C R A F T E D I N T H E U S A S I N C E 1 9 4 6 . N AT I O N W I D E M E A S U R E & I N S TA L L S E R V I C E S .

A L L P R O D U C T S S H I P I N 1 0 DAY S O R L E S S .

S H O W R O O M S N AT I O N W I D E

T H E S H A D E S TO R E .C O M

8 0 0 . 7 5 4 .1 4 5 5

HOUSE CALL

The living room of Margaret Lee and Oliver Newton’s Manhattan apartment, designed by Billy Cotton. The curved Italian sofa, B&B Italia chair, cocktail table, and lamp are all vintage. The drawing is by Carroll Dunham.

For details, see Resources.

WHERE TO BEGIN? One couple’s modest proposal blossoms into an artful interior

by Billy Cotton.

BY C HARLES CURKIN PHOTOGR APHS BY

STEPHEN KENT JOHNSON

ALL THEY WANTED FROM BILLY COTTON WAS A NEW KITCHEN.

That’s why Margaret Lee and her husband, Oliver Newton, the founders of 47 Canal Gallery, originally sought out the New York decorator. The couple had purchased their modest 760-square-foot prewar apartment in an estate sale, which in Manhattan is typically a euphemism for gut-renovation required. “It had not been 48

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touched in many years,” Cotton says diplomatically. The kitchen in question was little more than a “galley” that was “deeply nonfunctional.” Needless to say, as Cotton is known for his work with art collectors and artists as much as his warm palettes and Dutch Old Master moodiness, he had more to offer Lee and Newton than just a one-room redo.

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HOUSE CALL ENTRY The console and lamps are from Gallery 25, London, and the rug is from Eliko.

Homeowners Oliver Newton and Margaret Lee in the living room.

The portrait is by Cindy Sherman.

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Lee and Cotton met years ago while the former was managing the studio of photographer Cindy Sherman and the latter was decorating her homes. They were kindred spirits, both with a yen for exhibiting great art in dramatic interiors. Cotton encountered little resistance in convincing the couple to widen the scope of this project. He loved the idea that these young fixtures of the downtown scene had decided to live in an old building in Midtown with a manually operated elevator.

“The contrast was inspiring,” he says.

For the overall look, a white-box-gallery simulation was shunned. Too on the nose, too boring, not very Billy. In the living room, Cotton oriented everything around the origina l f ireplace, creating a sa lon– dining area hybrid with a curved vintage Italian sofa on one side and a custom banquette (with storage below) in Schumacher velvet on the other. “The room doesn’t get flooded with natural light,” he says. “So the idea was not to fight that.” With the somber olive paint and dark fabrics, he embraced the interior chiaroscuro.

In the bedroom, Billy put down “palace-size” wool carpets, purchased at auction in Boston and cut to fit the space. The addition of the seashell side tables stoked some controversy. “Oliver was freaked out by them,” Cotton says. “I didn’t wait for their approval, though. They needed these tables in their lives.”

(Oliver has since warmed up to them.) For the window treatments, Cotton found a dead-stock roll of chintz in France, which he paired with matchstick blinds. Beside it, he positioned an Aria Dean sculpture of a red bow hanging from an industrial chain. “The art in the apartment is relatively quiet,” he says; as a result, the tension between contemporary art and traditional decorative elements is that much more compelling.

And then there’s the question on everyone’s mind: W hat about the kitchen? Well, as a rule, Cotton simply doesn’t give the room a lot of consideration. He embraces its utility, as here, with the 1950s-inspired linoleum floor and stainless steel counters. He sees it as a workspace where function has a two-mile head sta r t over for m .

“Keep the gold and shagreen out of the kitchen,” he says. “Save that for Billy Cotton’s book of interiors your powder room.” ◾ from Rizzoli, due out in March.

KITCHEN The stove is from Ilve, and the cabinets and stainless steel counters are custom. The artworks are by John Finneran (left) and Olaf Breuning.

PRIMARY BEDROOM The vintage Italian chair sits atop a vintage rug and beside a bow sculpture by Aria Dean.

PRIMARY BEDROOM The side table and sconce are from Gallery 25, London, and the chair and rug are vintage.

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SHORTLIST

5. COOL SOAP These soap flakes are made in Aegina, Greece, the island where I spent summers as a child.

1. BLOCK SHOP TEXTILES I am definitely a fabric person when it comes to the table. Bright colors, lots of prints—Miami vibes.

2. MERENDA It’s like a Greek Nutella— chocolate and hazelnut— and it’s very, very delicious on toast or fresh bread.

6. MADELINE DONAHUE I’m lucky enough to own one of her ceramic vases. I like any flowers that last a long time, like eucalyptus or carnations.

3. FORCE MAJEURE

BY DEZRON DOUGLAS & BRANDEE YOUNGER I still have this album on repeat after two years. It’s close to my heart because, like Younger, I played the harp growing up.

The author, chef, and proprietor of Mina’s, the café at MoMA PS1, relishes a good bodega run, collaborating with artists, and these eight essentials.

4. CAMBRIDGE SERVING SET I love anything iridescent to serve with. My aesthetic matches my perspective on entertaining—it’s a little bit of everything.

8. LEMON, LOVE & OLIVE OIL My books are like journal entries.

This is probably the most personal, in terms of food.

Urs Fischer did the illustrations, which he describes as a “visual language” for the recipes.

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7. NIVEA Nivea holds me through the dry winter and (I’d like to think) seals in my tan in the summer.

PORTR AIT: FLOR A HANITI JO; NAPKINS: TERI WEBER; BREAD: GET T Y; ALBUM ART: ESTHER SIBIUDE; SERVING SET: W YCHE STUDIOS NYC; THE COOL PROJECTS SOAP FL AKES: ILIANA ALEX ANDROU; COOKBOOK: RICHARD MA JCHRZ AK/STUDIO D

MINA STONE

SHOWC ASE

ORBITAL CYCLES A bold new collection fetes a luxury house’s design ingenuity—and love of the cosmos.

THE YEAR IS 1932, AND EUROPE’S DIAMOND

star at the clasp. Above the collarbone rests a larger star that radiates light in the form of diamond bars. Swinging from a chain beneath is a final extraterrestrial extravagance—a comet made from an 8.05-carat pear-cut diamond of incredible clarity.

Just as our solar system exists in constant movement, so too does this necklace: It can be deconstructed and transformed into several brooches, a bracelet, and a short necklace. Function, as ever, remains the guiding light for fun. —Camille Okhio 54

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ABOVE: The Allure Céleste necklace from Chanel’s 1932 collection, featuring a 55.55-carat sapphire, a moon of roundcut diamonds, and a pear-cut comet.

LEF T: A Robert Bresson image of the original Bijoux de Diamants show, from the pages of Vogue Paris, 1933.

Price upon request; chanel.com.

NECKL ACE: PHOTOGR APH BY BENOIT PAILLEY; ST YLED BY BERTILLE MIALLIER; HISTORICAL PHOTO: COURTESY OF CHANEL

guilds are struggling to outlast the Great Depression. Someone has the bright idea to commission Coco Chanel, considered the most for wa rd-t h i n k i ng women swea r designer of the time, to create her company’s first high jewelry collection. The result is Bijoux de Diamants, a 50-piece ensemble introduced with a manifesto from the Surrealist writer and artist Jean Cocteau and photographs by the legendary filmmaker Robert Bresson. Bracelets, brooches, collars, and rings drip with diamonds in a simulacrum of a starry night—the galaxy rendered in platinum and gold.

That commitment to celestial savoir faire is renewed, 90 years later, with a suite of new pieces inspired by Chanel’s original 1932 collection. See the A llure Céleste necklace: A moon composed of sparkling round-cut diamonds centered on a deep blue 55.55-carat sapphire serves as the focal point of the piece, its chain topped by a five-pointed

TA LE N T

A French fabric atelier opens a dramaladen New York City showroom inspired by the artist Pierre Le-Tan. ROMAIN JOUFFRE, SCION OF THE FRENCH UPHOLSTERY FIRM JOUFFRE,

knew exactly where to turn when he needed an eye-catching design for a New York City showroom. In Olivier Garcé and Clio Dimofski, the principals behind Lisbon-based Garcé & Dimofski, he found kindred spirits. Jouffre had already forged a friendship with Garcé when the latter worked with Pierre Yovanovitch. But it was when Garcé & Dimofski sent inspirational images of the late French artist Pierre Le-Tan’s illustrations of curtain-laden windows that the final concept for the Long Island City headquarters took shape.

The 800-square-foot showroom, adjacent to an 18,000-squarefoot workroom abuzz with upholsterers and carpenters, is both a celebration of Jouffre’s craftsmanship and a stage for edgy contemporary design. The unabashedly theatrical display includes a black lacquered floor lamp by Minjae Kim, a lava-stone cocktail table by Ian Felton, sculpture and lighting by Simone Bodmer-Turner, and a biomorphic lamp by the Haas brothers. On the wall behind them are 56

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Surrealist paintings by Garance Vallée. “The objects are meant to seem like elements emerging from a dream landscape,” says Ga rcé. W h i msica l n iches i nspi red by Le-Tan’s first New Yorker cover—a red heart seen through the window of an Yves Klein– blue room—bring the concept to life. Elsewhere, passementerie-trimmed curtains hang elegantly over chairs by Joaquim Tenreiro, Serban Ionescu, and Kim. For Jouffre, the new space is a perfect reflection of the firm that his father, Charles, founded in Lyon, France, three decades ago.

“We’re known for bespoke drapes, and I wanted to communicate that tradition along with our passion for contemporary design,” he says. For him, the showroom is a place that preserves cherished craftsmanship while glancing imaginatively at the future. “And it also makes a really nice place to meet clients and have a cup of coffee.” —Kathleen Hackett

SEAN DAVIDSON

CURTAINS UP

The Jouffre showroom in Long Island City, Queens, designed by Garcé & Dimofski, showcases upholstery and contemporary design. jouffre.com

STUDIO VISIT

DREAM WEAVER Diedrick Brackens marries the magical and the mundane in his art.

PHOTOGR APHS BY

JUSTIN C HUNG

Diedrick Brackens in his Los Angeles studio. TAPESTRI ES, FROM TOP: soft, dark, demigod, 2021; marshling, 2021.

BELOW: Brackens at his loom.

busy street in downtown Los A ngeles, the artist Diedrick Brackens bala nce s over a simple wooden f loor loom, a modern-day Briar Rose.

His tapestries, the first of which he made in 2008, evolved from a sculptural practice that incorporated fiber. Each piece is woven primarily from cotton, a material that carries geographic, cultural, and social weight for the Texas-born artist, tethering him to his ancestors as well as future generations.

The most salient forebear to Brackens’s work could be Yoruba aso oke, handwoven from long strands of silk or cotton. Other references include the quilt codes of the Underground Railroad, in which the quilts of abolitionist travelers were embedded with directions to the North; Flemish medieval tapestries; kente cloth; and the textile tradition of Gee’s Bend, Alabama.

Much of Brackens’s work is figurative, depicting Black bodies in scenes that center intimacy and connection. Each textile is hand-dyed, then spun and woven in an intuitive process that combines methods of weaving not generally taught together. “The art historian Kobena Mercer notes that when Black people reach for magical realism, it is an attempt to describe the world we live in,” says Brackens.

“We experience the magical in the mundane.”

It is in this marriage of supposed opposites that Brackens finds the space to expand both his ideas and his technique: “Weaving is so plastic and malleable. There’s always a way to innovate within it and push through the constraints of the loom.”

—Camille Okhio

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ART WORK © DIEDRICK BR ACKENS. COURTESY OF THE ARTIST, JACK SHAINMAN GALLERY, NEW YORK, AND VARIOUS SMALL FIRES, LOS ANGELES

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GOOD ON PAPER DON PENNY

Boldness and whimsy are making their long overdue comeback in the home. Are your walls ready for the revolution?

BY

TIM Mc KEOUGH

CLOCK WISE FROM LEF T: Condesa by Serena Dugan Studio, Tag 9184 by Phillip Jeffries, Mayenne by Brunschwig & Fils, Can-Can by Flavor Paper, Excentric by Diptyque, Ginger by Thibaut, Fan Palm by Stroheim, Venus from Collection 360° by Élitis, Turning Leaves by Voutsa (on floor).

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BUILDER

A blue floral print by Florence Broadhurst adds to the zaniness in Jonathan Adler’s home office in Greenwich Village, New York City.

NOW TRENDING Murals

F

orget paint. When a room screams out for a truly audacious change, it’s almost impossible to beat statement-making wallpaper. Whether the design depicts lush oversize florals, a hallucinatory geometric pattern, or a lively scene from some foreign dreamworld, a unique wallpaper can propel a space from a ho-hum afterthought to a home’s crown jewel.

“It’s probably my favorite tool to make someone’s house feel really distinctive,” says the New York City–based designer Celerie Kemble. “It’s a real mood changer and instantly adds a big dose of personality.

Even though there’s no actual depth to it, patterned wallpaper gives a foregroundbackground effect that eliminates the feeling of that big, sad, flat wall.”

A s wa llpaper has been su rging in popularity for well over a decade, the range of options has proliferated, with new and old companies introducing patterns that might have been deemed too outrageous just a few years ago. At the same time, designers and homeowners alike are growing more daring.

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Thanks to digital printing, full-scale wall murals are now almost as accessible as the repeating patterns of yore. Calico Wallpaper, for instance, creates artful, abstract motifs rich with atmosphere that never repeat. The company’s latest introductions include designs resembling supersize wood grain, paintbrush strokes, and free-form paper cutouts, as well as washes of color evoking gauzy clouds and electric sunsets.

Peel-and-Stick

Don’t have an installer, or worried about papering a rental apartment? No problem. Companies like Chasing Paper and Wallshoppe make peeland-stick wallpaper that looks as good as traditional products but is simple to hang and just as easy to remove when you grow tired of the design.

Added Function

Wallcoverings can do more than merely add decoration. Liners from companies like MagScapes can make any wallpaper magnetic. Smarter Surfaces offers dry-erase wallpaper that can turn entire walls into giant whiteboards.

NuWallpaper has wallpaper that serves as a chalkboard. And if a room is too echoey, companies like Maya Romanoff and York Wallcoverings have woolly and felted wallpapers that can improve acoustics.

“I’ve become a lot more adventurous with bold, oversize patterns and colors, compared with when I first started using wallpaper,” says the West Coast designer Nathan Turner, a partner in the directto-consumer wallpaper brand Wallshoppe.

As more people become more comfortable with patterned walls, he says, they’re also moving beyond feature walls and smallscale rooms to wrap larger spaces like dining rooms, lounges, and bedrooms in paper. “Wallpaper has finally made its way out of the powder room,” he says.

Not only are there more patterns from more manufacturers on offer, from loose painterly designs to strict architectural motifs, but manufacturing technology has also advanced significantly, opening an avenue to customizable murals; peel-and-stick wallpaper; textural products that resemble wood, shagreen, leather, and fabric; and functional wallcoverings that double as chalkboards, magnetic walls, and acoustical damping.

All of that is good news for homeowners. Resources that were once reserved for the trade are more accessible, and DI Y installation has become a real possibility. It’s also easier to find wallcoverings that mimic revered finishes, such as decorative painting, Venetian plaster, and wall upholstery.

“I use a lot of fabric as wallpaper because it adds depth,” says the Baltimore-based designer Mona Hajj. In one bedroom, for instance, she finished walls with intricate

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Bring any room in your home instantly to life with these eye-popping new wallcoverings.

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1. BEAT 9195 On the hunt for the perfect wave-patterned paper?

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A 19th-century classic is ripe for the picking in this vibrant new colorway.

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Add a painterly touch with this abstract mood setter.

4. BAGATELLE BY MANUEL CANOVAS Available for the first time as a wallpaper, this iconic print is as exciting as floral motifs get.

To the trade. cowtan.com

5. SQUARE DANCE T12846 Graphic patterns in tight repetition are never the wrong choice. $146 per roll. thibautdesign.com

To the trade. arte-international.com

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HA JJ: PIETER ESTERSOHN; WALLPAPERS: DON PENNY

lace over a layer of silk, and in a bathroom she added paper backing to a nubby charcoal fabric so it could be pasted into place.

Pulling off such details usually requires big budgets and expert installers. However, deeply textural wallpapers from companies like Phillip Jeffries, which makes products with grass cloth, wood veneer, and more, can offer a similar look for less expense and with more room for error.

And just because the product is called wallpaper doesn’t mean it should be used only on walls. “Frequently, I use it on ceilings,” Kemble says. “I’ve also designed a series of natural textures in wallpaper, like tortoiseshell, which I’ve seen installed in the backs of bookcases and insides of drawers.”

The Spanish designer Lorenzo Castillo, a power wallpaper user, has rules for which types of papers to use where. “I prefer plain textural papers with a natural textile look in big spaces like drawing rooms,” he says. “I like to use papers with smaller patterns— geometrics or motifs from nature—in bedrooms, walk-in closets, and bathrooms,” where a sense of calm is desired.

He frequently reserves the largest-scale patterns for entrance halls, libraries, and dining rooms. “In those spaces, you can be more dramatic,” Castillo says, “and why not get wild and crazy?” ◾

A collision of vivid patterns is united by a Brunschwig & Fils print in the powder room of a home in Baltimore designed by Mona Hajj.

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OUT ON THE TOWN Amari low-back lounge chairs, side table, threeseat sofa, Constantine cocktail table, and Dupioni vase all by Janus et Cie. FASH IO N , FROM LEF T: Coat by Louis Vuitton, jumpsuit by Erdem; coat by Brandon Maxwell, vest by 3.1 Phillip Lim, pants

by Isabel Marant, boots by Givenchy; dress by Alexander McQueen; coat by Prada, suit by Paul Smith. LOC ATION: The Metropolitan Opera at Lincoln Center for the Performing Arts in New York City. janusetcie.com.

For details, see Resources.

CENTER Janus et Cie’s distinctive outdoor collections prove the enduring appeal of great performance.

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F U R N I T U R E FA N TA S Y

PRESENTED BY

NEW YORK STATE OF MIND

DANCING THE NIGHT AWAY

LEF T: Amari high-back lounge chair by Janus et Cie. FASH ION: Sweater and pants by Fendi, ring

by Givenchy, shoes by Giuseppe Zanotti.

BELOW: Gina corner and center module sofas and Gina recamier by Janus et Cie. FASH IO N , FROM LEF T: Coat, belt, and boots by Givenchy, top and pants by Marcell von Berlin; trench coat and boots by Chloé, dress

by Oscar de la Renta.

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FASHION ST YLIST: LIZ RUNDBAKEN AT FORD MODELS; HAIR AND MAKEUP: SANDRINE VAN SLEE AT ART DEPARTMENT; MODELS: DANNY LIM AT SOUL ARTIST MANAGEMENT, L AUR A SCOT T AT MUSE MANAGEMENT, MARGARITA BABINA AT MA JOR MODEL MANAGEMENT, MIGUEL SOUTHEE AT ONE MANAGEMENT. PHOTOGR APHED ON LOCATION AT LINCOLN CENTER FOR THE PERFORMING ARTS AND THE METROPOLITAN OPER A , NEW YORK CIT Y. THE METROPOLITAN OPER A IS A REGISTERED TR ADEMARK AND IS USED WITH PERMISSION OF THE METROPOLITAN OPER A

EN PLEIN AIR

Forest high-back barstools, Koko II Communal bar table, Dolce Vita bar table, Metro platter, and Aslant vases all by Janus et Cie. FASH IO N , FROM LEF T: Dress and boots by Chloé; vest and pants by Versace; dress and pants by Hervé Léger; coat and pants by Versace, T-shirt by Berluti, shoes

by Coach. LOC ATION FOR ALL: Lincoln Center for the Performing Arts in New York City.

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THE ART ISSUE

AN ARTWORK BY MARK BRADFORD IN A SOUTH FLORIDA HOME RENOVATED AND DESIGNED BY RODNEY LAWRENCE. THE CHAIRS ARE BY VLADIMIR KAGAN. See page 108 for more, and for details see Resources.

Go ahead: Put these inspired interiors on a pedestal. Plus, new takes on craft by five rising stars of American design.

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HER THE SITTING ROOM OF CAROLINA VINCENTI AND PAOLO SCOTTO DI CASTELBIANCO’S APARTMENT IN AN EARLY20TH-CENTURY BUILDING IN ROME. For details, see Resources.

ROMAN 72

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In her apartment near the Piazza Navona, the art scholar Carolina Vincenti has created a timeless setting filled with her love of culture, beauty, and history.

EMPIRE

SITTING ROOM C HAIR: Custom green silk chair topped with a pillow in an Arjumand’s World fabric

by Idarica Gazzoni. FLOOR L A MP: 18th-century French.

ART WORKS: Roman fragment on a 17th-century marble pedestal; two 17th-century landscapes.

STUDIO (OPPOSITE) D ESK: 19th-century Italian table. CU RTAI N FABRIC: GP & J Baker. WALL HANGI NG: Isabella Ducrot.

An invitation to Carolina Vincenti’s Roman apartment offers a rare thrill: the serendipity of surprise. The art historian— together with her partner, Paolo Scotto di Castelbianco, a food and

wine critic—is legendary for the highly origina l gatherings she stages in a home furnished with Old World splendor. For a recent dinner party, fo r i n s t a n c e , t h e y re-created dishes from a 17th-century menu they had fished out of the dusty archives of a Baroque palazzo. Other evenings might feature music and cuisine inspired by her Romanian ancestry, or readings of experimental poems paired with piano sonatas performed by Scotto di Castelbianco on his Steinway.

All of this entertaining takes place amid rooms in pistachio and red that are filled to their soaring ceilings with the couple’s collections. Walls are hung with Old Masters and futurist art, tables are stacked with Italian maiolica, and endless bookshelves are filled with tomes.

“Addicts of minimalism should steer clear of my home!”

Vincenti warns with a laugh.

Formerly the headquarters of a political party, the su n l it apa r t ment i s on t he fou r t h f loor of a n early-20th-century building a stone’s throw from the Baroque splendors of the Piazza Navona and the bustling market square of the Campo de’ Fiori. When the couple first saw it in 2015, they were flabbergasted by the abundance of space. At last, they had found a home large enough for their beloved things.

Collecting has often been associated with a desire to create a world that pays homage to an idealized past.

Like many expatriates, Vincenti, who was born in Bucharest and raised in Beirut, follows in this tradition.

She fled Beirut with her mother in 1975, soon after the onset of the Lebanese civil war. They arrived in Rome and filled their new home with all the possessions they had managed to salvage from their previous life. “The apartment had the patina one would expect from a 16th-century palace,” she recalls of an adolescence spent surrounded by history. “But it was a time warp: Even television was banned.”

Reading became Vincenti’s pastime. Not surprisingly her first collection, which she started when she was 15, was an array of illustrated children’s books. She went on to study art history at university and obtained a doctorate degree in 18th-century sculpture. Since then she has published several books on the art and architecture of ELLE DECOR

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KITCHEN TABLE: 19th-century French butcher’s table.

C HAIRS: 20th-century Italian. FLOORI NG: Cement tile by 1925.

PL ATES (ON WALL): 18th-century Albisola ceramics.

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MUSIC ROOM (BELOW RIGHT) PIANO: Steinway.

C HAIR: Antique chair covered in an Arjumand’s World fabric

by Idarica Gazzoni.

ART WORK: Bust by Giuseppe Ducrot.

SITTING ROOM (OPPOSITE, BOTTOM) M ANTEL: Circa 1780 Italian. SCONC ES: 18th-century French.

ART WORKS: Flemish Renaissance (above mantel); sculpture (below mantel) by Giuseppe Ducrot.

DINING ROOM TABLEC LOTH: 18thcentury Genoese embroidered silk.

C HAIRS: Antique French, covered in 18th-century Aubusson textiles. CONSOLE: Italian Baroque.

ART WORKS: Painting

by Girolamo Mirola; wall hanging by Isabella Ducrot.

her adopted city, including her most recent title, Soul of Rome: A Guide to 30 Exceptional Experiences. Fluent in five languages, she also organizes made-to-measure walking tours of Rome and the surrounding area.

The couple’s collection of Old Masters—mostly 17th- a nd 18thcentury Italian oil paintings—inspired their apartment’s intense color palette.

Historically, she explains, “these paintings were conceived to be hung on pig mented wa l ls.” So, i n t he entrance, a long corridor filled with bookshelves, she replicated the strawberry red of old phone booths in England. For the living room she opted for a soft Rajasthan green.

The adjacent dining room, also painted red, bears testimony to her obsession for fabric. The table, a large oval that seats up to 10 people, is covered with a f ine 18th-centur y embroidered silk from the Italian port of Genoa, Scotto di Castelbianco’s hometown. The dining chairs are upholstered with Aubusson fabric. Dominating the room is a magnificent tapestry by the Italian artist and textile expert Isabella Ducrot. The deep red envelope of the space also perfectly offsets Scotto di Castelbianco’s collection of 18th-century blue-and-white Genoese porcelain.

Elsewhere in the apartment, centuries-old silks from the historic San Leucio factory in southern Italy are mixed with colorful contemporary patterns by the Milanese designer Idarica Gazzoni. Meanwhile, Vincenti’s vast collection of antique fabrics—textiles from the Balkans, ancient weaves from her travels along the historic Silk Road route—are draped on furniture and displayed alongside Renaissance portraits on the walls.

Sitting on a plush 1940s sofa that was once in her grandmother’s home in Bucharest and has since been re-covered in green Italian silk, Vincenti muses on the eclecticism that makes her home feel timeless. Everywhere, there are vases filled with fresh roses and branches from the couple’s cottage in Umbria.

While we chat, she is suddenly reminded of an idea the writer Aldous Huxley proposed: that there is a spirituality inherent in the material world. “That idea struck a chord deep inside me,” Vincenti says. “It became my mantra.” One that allows her to indulge her collector’s bug without the tiniest pang of guilt. ◾ ELLE DECOR

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Carolina Vincenti in her bedroom, on a cushion covered in an antique handwoven Romanian skirt.

PRIMARY BEDROOM (OPPOSITE) BED: Custom, with pillows in antique textiles.

SI D E TABLES: Covered with 19th-century Romanian handembroidered fabrics.

RUGS: 19th-century Turkish.

PRIMARY BATHROOM MI RROR: Flemish.

VINTAGE SCONCE: Maison Baguès. WALLS: Tiles by Ceramiche Grazia, with a mixed marble detail.

ART WORK: Antique plaster casts (in mirror).

“Addicts of minimalism should steer clear of my home!”

—CAROLINA VINCENTI ELLE DECOR

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CURVE YOUR With sinuous surfaces, painterly marbles, and statement-making art, designer Nicole Hollis transforms a San Francisco landmark into a family home that’s a star turn of creative ambition.

BY INGRID ABR A MOVITC H PHOTOGR APHS BY

DOUGL AS FRIEDM AN

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ENTHU

SIASM

ABOVE: A YAYOI KUSAMA PUMPKIN SCULPTURE SITS IN THE ENTRY OF A 1910 TOWNHOUSE IN SAN FRANCISCO, WHICH WAS RENOVATED BY THE DESIGNER NICOLE HOLLIS AND THE ARCHITECT STEPHEN WILLRICH. OPPOSITE: THE RESTORED TUDOR REVIVAL FACADE

BY HERMANN BARTH, THE ORIGINAL ARCHITECT. For details, see Resources.

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Don’t get mad, get even— especially in matters of houses and ex-spouses. That seems to have been the message Mary Alice Huntington hoped to send when, in 1910, fresh off her divorce from her railroadheir ex-husband, the San Francisco socialite built the architectural equivalent of a revenge dress. The mansion was one of the grandest the city had ever seen, with nine bedrooms over nearly 12,000 square feet, a Tudor Revival facade of Shakespearean dimensions, and a seriously sexy view out to San Francisco Bay. And so it stood for more than a century until in 2018 the house went on the market, and a neighbor, living two doors down with her husband and children, became obsessed. True, the two-toned exterior, with its brick chimneys and timber corbels, exuded a certain archaic glory—no match, one would think, for a dynamic philanthropic couple whose art collection includes works by Lorna Simpson, Mark Bradford, and Richard Prince.

But she saw the potential. “I had always admired its beauty,” she says. Her husband, who is in finance, initially disagreed. “He thought it was the ugliest house he had 82

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ever seen,” says designer Nicole Hollis, who overs a w t h e r e n ov a t i o n alongside the architect Stephen Willrich. “He didn’t think we could do anything with it.”

Today, the meticulously restored landmark exterior is elegant in charcoal gray. And the interiors are utterly transformed—a testament to the power in combining bespoke design with a professional’s vision and a homeowner’s unbridled enthusiasm. The tone is set in the entry hall, where a mirror-polished bronze pumpkin

by Yayoi Kusama is framed by a swooping white-plaster staircase; it was Hollis, who was hired midproject, who proposed replacing the traditional picket staircase with this dramatic, modern gesture. “That just blew everybody’s socks off,” the owner says. “It has this Guggenheim feel. It’s just extraordinary and edgy.”

Hollis, whose modernist interiors are layered with work by the artisans she seeks out around the globe, filled the house with surprises: Just steps from the entry lies a dark-walled powder room where a fluorescenttube light installation by American artist Johanna Grawunder hovers over a blue-resin vanity by Dutch designer Sabine Marcelis. The photogenic, Dan Flavin– like space is a hit with the couple’s two teenagers.

KITCHEN (OPPOSITE) CUSTOM ISLAND AND CABINETRY: Vaselli for Elementi. SINKS: Blanco.

FIXTURES: Waterworks.

FLOORING: Oak herringbone

by First, Last & Always.

LIVING ROOM SOFA (RIGHT): Collection Particulière. WHITE CHAIRS: Pierre Paulin for Gubi.

BRONZE COCKTAIL TABLE: Fernando and Humberto Campana for Friedman Benda. CHAIR (REAR): Nina Seirafi for Ralph Pucci. GLASS COCKTAIL TABLE: John Hogan for the Future Perfect.

PENDANT: Pierre Augustin Rose. ARTWORKS (FROM LEFT): Josef Albers, Larry Bell (at window), Richard Prince.

On the second level, a massive picture window overlooks a thicket of trees, San Francisco’s lush Presidio Park visible just beyond. The living room features a sculpture by Larry Bell and a painting by Josef Albers— both homages to the square. But if the art is all about right angles, everything else in the space, from the Pierre Paulin chairs to the oval cocktail table by the Campana brothers, has rounded corners. “It was unintentional,” Hollis says, “but at one point I realized that everything curves, from the staircase to the furniture.”

When she pushed the couple to take some chances, they were persuadable—and stuck with the plan even when the pandemic made everything more complicated.

This is how they came to have an entire kitchen, including decorative fronts for built-in appliances, handmade in Tuscany from a single block of pale, purple-veined Breccia Capraia marble. “It’s so tricked out; you knock on the dishwasher, and it opens,” Hollis notes. “There’s no need for hardware.”

Even more ambitious was an entire dining room commissioned from a single artist, Paris-based Ingrid Donat, who created grooved-wood panels for the walls,

custom lighting, and a dining table, fireplace surround, and crown molding all in hand-cast bronze. The room was fabricated in Donat’s studio in France; each piece was numbered and shipped on pallets to San Francisco, where they were installed by local craftspeople. “It took us over a year and a half to get it done,” Hollis says. “It was down to the wire.”

For the couple, the house was envisioned as a place where they could host charitable events and share their art collection with the local cultural community. But of course, it was also intended as a refuge for their family.

After moving in last fall, the family couldn’t resist gathering in their dining room over a meal of Chinese takeout. “Our lifestyle isn’t formal, but the room is soft, warm, and cozy,” the owner says. “You just want to sit at that table with the fireplace on, eat and drink too much, and have a lot of laughs. That’s the sentiment I wanted for this entire house—a place to build memories while enjoying the work of the artists all around us.”

Mary Alice Huntington, who commissioned the home over a century ago, would likely have approved.

Living well, after all, is the best revenge. ◾ ELLE DECOR

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An entire dining room was commissioned from a single artist, Paris-based Ingrid Donat—from the grooved-wood wall panels to the table and the bronze fireplace surround.

DINING ROOM WOOD WALL PANELING AND BRONZE FIREPLACE, TABLE, AND SCONCES: All custom

by Ingrid Donat for Carpenters Workshop Gallery. CHAIRS: Sergio Rodrigues for Espasso. RUG: Atelier Février. CHANDELIER: Paul Mathieu for Ralph Pucci.

CONSOLE: Faye Toogood for Friedman Benda. ARTWORKS (FROM LEFT): Keith Haring (above console), Jenny Holzer (bench), Yayoi Kusama (above fireplace).

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FAMILY ROOM SOFA: Christophe Delcourt for Minotti. COCKTAIL TABLE: Wendell Castle from Friedman Benda. RUG: Atelier Février.

CHANDELIER: Michael Anastassiades. ARTWORK: Doug Aitken.

POWDER ROOM SINK: Sabine Marcelis for Etage Projects.

MIRROR: Agape.

CEILING LIGHT: Johanna Grawunder for Carpenters Workshop Gallery.

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PRIMARY BEDROOM CUSTOM BED: Upholstered in a Sandra Jordan alpaca.

NIGHTSTANDS: Mattia Bonetti from David Gill Gallery. LAMPS: Anne and Vincent Corbière from Twenty First Gallery. SOFA: Pierre Augustin Rose. RUG: Atelier Février. PENDANT: Ayala Serfaty. ARTWORK: Wolfgang Tillmans.

VINTAGE ARMCHAIR (BELOW LEFT): Madsen and Schubell. CUSTOM CONSOLE: Tuomas Markunpoika from Gallery FUMI. ARTWORK: Diana Al-Hadid.

HER DRESSING ROOM (BELOW) PENDANT: Jeff Zimmerman.

RUG: Rosemary Hallgarten.

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PRIMARY BATHROOM CUSTOM TUB, VANITY, AND SURFACES IN ARABESCATO CORCHIA MARBLE: Vaselli for Elementi. FIXTURES: Waterworks. PENDANT: Vincenzo De Cotiis.

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OUTSIDE IN THE GARDEN OF ALEX LOGSDAIL AND SKYLAR PITTMAN’S BRIDGEHAMPTON, NEW YORK, HOME, THE HÉLIO OITICICA SCULPTURE IS FROM LOGSDAIL’S LISSON GALLERY. THE LANDSCAPE AND POOL WERE DESIGNED BY EDWINA VON GAL. For details, see Resources.

THE

BY HIL ARIE SHEE TS PHOTOGR APHS BY ORI HARPA Z ST YLED BY M ARIE TROHM AN

When gallery owner Alex Logsdail moved into a Hamptons house with an art-world pedigree, he turned its landscape by Edwina von Gal into a striking showcase for the work he sells.

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At the end of a long, secluded pathway in Bridgehampton, New York, Alex Logsdail found the intimate modernist home he had been searching for in 2019.

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“It was like a sanctuary, very private and simple,” says Logsdail, the 36-year-old executive director of Lisson Gallery, founded in the 1960s in London by his father, Nicholas Logsdail, nephew of the eccentric author Roald Dahl. In 2016, the younger Logsdail took the reins from his father and has since overseen the opening of Lisson’s two New York City spaces in Chelsea as well as the gallery’s expansion into Asia.

LI V I N G ROOM LE ATH ER SOFA: Design Within Reach. VI NTAGE SOFA (LEF T): Theo Ruth. VI NTAGE C HAIR AN D OT TOM AN: Kerstin Horlin-Holmquist.

FLOORING: Black slate.

CEILING: Cedar.

ART WORKS (FROM LEF T): Plexiglas and water cube by Hans Haacke, stone sculpture

by Pedro Reyes, green pieces on wall by Carmen Herrera.

Of course, Logsdail had no way of knowing when he purchased his Hamptons getaway that within months he and his partner, Skylar Pittman, would soon be quarantining in it for almost a year. With many of h is clients now liv ing nea rby, hav ing decamped from the city, he shifted his strategy. He opened an outpost of the gallery in E ast Ha mpton . Mea nwh i le, h is home became an extension of his art program.

“Essentially, everything inside the house is

from my personal collection, and everything outside the house is for sale,” says Logsdail, leading a tour through the breezy open-plan interior and around the grounds installed with sculpture by Lisson artists including Carmen Herrera, Anish Kapoor, Tony Cragg, Pedro Reyes, Richard Long, Lee Ufan, and Hélio Oiticica.

Clad in weathered wood, the minimalist flat-roofed structure features a wall of sliding glass doors that open onto the pool and sculpture garden. It was built in 1985 by the local architect Bill Chaleff as an eco-home, supporting an earthen berm on the roof to modulate climate. In 2002, another gallery owner, David Maupin, and editor Stefano Tonchi bought the house and worked with the landscape designer Edwina von Gal to add the pool and excavate the home from its sodden roof, exposing dramatic wooden beams and girders. Tonchi and Maupin added black travertine flooring and raw plywood walls and cabinetry throughout the home, details influenced by Rem Koolhaas, whom Maupin had commissioned to design Lehmann Maupin’s gallery spaces.

“There’s a purity to the materials—everything in the house is wood, glass, or stone,” says Logsdail. Working with a contractor, he has since made his own changes to the property. A small freestanding garage was converted into a discrete viewing room with retractable glass doors, where Logsdail has met with clients since the start of the pandemic. He bought a shipping container to relocate his clutter, emptied from the garage, and clad the utilitarian unit in weathered wood to match the other modular structures on the property. For Pittman, a partner at the photo agency SN37, the poolhouse morphed into a pandemic office. The couple, who recently got engaged, hosted outdoor gatherings beside the pool throughout the pandemic, including a dinner last June honoring the sculptor Hugh Hayden after his gallery opening and catered by the cooking collective Ghetto Gastro.

For the interior, Logsdail drew up designs for the beds and a cocktail table, inspired by the plywood boxes of the artist Donald Judd, and had them fabricated in birch by his gallery’s plinth maker.

Vibrant abstract geometric paintings by Herrera, Stanley Whitney, Marina Adams, and Cory Arcangel pop against the neutral palette of the architecture and furnishings.

Pittman’s photographer father, Dustin Pittman, has been documenting New York’s fashion and music scenes since the late 1960s, and the dining area is lined with his black-and-white photographs of Mick Jagger, Yves Saint Laurent, Lou Reed, and Halston. A grid of 16 Edie Sedgwick headshots produced as an Andy Warhol screen test by another of his “superstars,” Gerard Malanga, was Pittman’s gift to his daughter for her 18th birthday. Malanga also photographed Pittman’s father walking in a field with the late actress Sylvia Miles—an image that is now displayed in the couple’s bedroom.

In the poolhouse, a wall piece by Lawrence Weiner reads: “Logs Bound Together” underscored by a black line. “A raft is literally logs bound together, floating on the water,” says Logsdail, who co-owns the piece with his father and was close to the artist, who died in December. “But it’s also a play on our name, Logsdail, because we are bound together, which I think is quite beautiful.” ◾ ELLE DECOR

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D I N I N G ROOM C HAIRS: Niels Moller.

ART WORKS (FROM LEF T): Stanley Whitney, Marina Adams (center), photographs

by Dustin Pittman.

KITC H E N (O PP OS ITE , TO P LE F T ) VI NTAGE STOOLS: Carl Malmsten. CUSTOM ISL AN D: Corian. ART WORK: Wall sculpture by Sergio Camargo.

POOLHOUS E/OFFIC E (O PP OS ITE , BOT TOM) VI NTAGE D ESK: Marco Zanuso. ART WORK: Wall sculpture by Lawrence Weiner.

BELOW: Skylar Pittman and Alex Logsdail.

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PRIM A RY BE D ROOM PL ATFORM BED AN D N IGHTSTAN DS: Custom.

ART WORKS (FROM LEF T): Joyce Pensato, Matt Connors, photograph by Dustin Pittman.

GU ES T ROOM (A BOV E LE F T ) BED D I NG: Parachute.

ART WORK: Gerard Byrne.

GU ES T ROOM TE RR AC E (LE F T) OUTDOOR TABLE AN D C HAIRS: Pedro Reyes.

“Everything inside the house is from my personal collection, and everything outside the house is for sale.” —ALEX LOGSDAIL

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A

Designer William Cullum makes an outsize impression in his Greenwich Village studio apartment, where a pair of rooms feels like a palace.

BY BEBE HOWORTH PHOTOGR APHS BY KIRK

DAVIS SWINEHART

CLASSIC PAINTERLY PALETTE Bold color choices can unify a wide-ranging collection of artworks and objects. For the living area of their Greenwich Village studio (opposite), designer William Cullum and Jeffery Rhodes chose a purple (Beach Plum by Benjamin Moore) inspired by a shade in editor Leo Lerman and artist Gray Foy’s New York City apartment. “Their living room was a beautiful frothy lilac, and I always loved it,” Cullum says. The hue also plays off the color of the rug, which is Chinese Art Deco. The entry is in a custom paint, a combination of emerald green and a dark blue. “I had the two cans of paint and just thought, It’s between the two colors—let’s go for it,” the designer says. The 19th-century cabinet is Japanese, and the artwork above it is by Fotini Christophillis.

For details, see Resources.

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Five hundred square feet is tiny by any standard, but it’s a particularly cozy canvas for a creative duo with an unabashed object lust. “Everything we have is personal,” says William Cullum, the senior designer at Jayne Design Studio, who shares this prewar Greenwich Village apartment with his partner, Jeffery Rhodes, who works in fashion and brand development. The result is a fearless composition of their favorite things, enlivened by a shared penchant for pattern and color. From family heirlooms to Victorian antiques and auction finds, Cullum says, “if we love it, we make it work.”

TWO

THE ART OF LAYERING Cullum and Rhodes didn’t let their home’s tiny footprint hold them back from piling it on. Their bed (above) is dressed in a Saffron Marigold duvet, Cullum’s childhood quilt, and pillows in fabric repurposed from dresses by Dries van Noten.

The couple’s interest in Victoriana is reflected in a Minton majolica garden stool and papier-mâché cocktail table. In the kitchen (left), the hot-pink pie safe came from Cullum’s greatgreat-grandparents’ home in South Carolina.

TABLEAU VIVANT Cullum and Rhodes have a strict rule for anything on display: It has to be something they couldn’t do without. In the living area (opposite), a vintage rosewood chest is topped with artworks by Paul Richard and Wilfried Van Bauwel and a sunburst wall piece by Studio Mike Diaz. The Italian side chair is from the early 19th century, and the ceramic shell bowl (which holds toys for Bash, the couple’s cat) is from Rhodes’s collection of pottery from Mississippi.

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BELOW: William Cullum (left) and Jeffery Rhodes.

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WRIT TEN AN D PRODUCED BY

C A MILLE OKHIO

These five rising stars in American design are bringing traditional craft techniques firmly into the 21st century.

CLOCKWISE FROM TOP LEFT: Phantom Limb chair and light by Ellen Pong; small Halo paper lantern by Bradley Bowers; enameled glass Poppy globe by Sarah Burns; small Vase sconce detail by F. Taylor Colantonio.

WORK!

THIS PAGE: CHAIR: ELLIOT T JEROME BROWN JR.; GL ASS GLOBE: ADAM CAILLIER; SCONCE: GIORGIO BENNI. OPPOSITE PAGE: ELLIOT T JEROME BROWN JR.

MAKE IT

Ellen Pong in her studio with a Bean Pole floor lamp. LEFT: A ceramic candelabra of her design.

BELOW: Preparatory sketches are the first step in Pong’s process. ellenjpong.com

ELLEN PONG

“CLAY IS REALLY INTUITIVE. IF YOU

can think of something you want to make, you can create it.” So says Ellen Pong, the artist whose ceramic furniture has been featured by galleries including New York City’s Superhouse and Los Angeles’s Marta. She grew up near Seattle, studied art history at the University of California, Berkeley, and now works out of a shared studio in Queens, New York, where she creates unusual ceramic pieces—including lamps, chairs, and vessels—that marry function with an irreverent sensibility. Each design is formed through a process of hand-building, sometimes for many weeks.

Though firmly contemporary, Pong’s work takes cues from a wide range of historical influences. “I saw some pre-Columbian artifacts at the Diego Rivera museum in Mexico City and was inspired by how relatable and sometimes even silly and cute they were,” she says. Her own designs are also marked by their humor and are on occasion creature-like—creeping, swirling, and crawling out of another dimension. A crouching Phantom Limb chair doubles as a light, while a silver Bean Pole lamp twists toward the sky. Meanwhile, she continues to dream up new shapes and bring them forth.

Catch her work on view later this year at New York City galleries including Objective and Emma Scully.

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WHEN BRADLEY

BRADLEY BOWERS Bowers displayed

his sculptural paper lanterns at Design Miami in December, he had an immediate success on his hands. The ingenious designs, exhibited by the Future Perfect, won a top prize, and were snapped up by collectors like the architect Lee F. Mindel. “I’ve always been interested in how objects can be teachers,” says Bowers, who also creates wallpaper, fabrics, and 3D-printed porcelain out of his studio in New Orleans. His recent lighting series, Halo, was developed as a kind of antidote to the painstaking methods required to create his ceramics and textiles. By contrast, the paper Halo lanterns come to life in the moment, with Bowers spontaneously scoring, pinning, and sculpting works into place with few preconceptions.

Indeed, the first iteration was a paper vase: “It was a kind of ultimatum,” he says. “You either watch the vase die, or the flowers, depending on whether water is added.”

The material was revisited after he read an Isamu Noguchi biography, Listening to Stone, and added a lightbulb inside a vase, “an otherworldly moment.” From there, Halo expanded into a family of objects. He compares each light piece to a narrative, one that is written directly into the twists and turns of the paper. “They have passages and all these layers,” he says. “The smaller pieces feel like haiku, while the larger ones are like novels.”

Bradley Bowers creating a Halo paper light fixture.

ABOVE RIGHT: His Pinch porcelain cups. RIGHT: Bowers in his New Orleans studio. bradleylbowers.com

F. Taylor Colantonio in his studio in Rome.

RIGHT, FROM TOP: A papier-mâché lamp; a cabinet of studies. CENTER: A mirrored sconce. ftaylor.co

F. TAYLOR COLANTONIO

THIS PAGE: SERENA ELLER; SCONCE: GIORGIO BENNI. OPPOSITE PAGE: CAMILLE LENAIN

F. TAYLOR COLANTONIO IS TRANSFORMING AN AGE-OLD PROCESS

that in his hands feels fresh and novel. His medium is papier-mâché, and his subject matter is a mixture of history and myth. He realizes other ideas in the form of coiled-rope vessels and plastic floor coverings.

Colantonio, who is from Boston, is a graduate of the Rhode Island School of Design, where his classmates included the artist Katie Stout and the interior designer Adam Charlap Hyman, both of whom own his work. An apprenticeship with a master papiermâché artisan in Puglia, Italy, spawned a practice that is equal parts rigor and invention. Colantonio has innovated a technique that mimics marble in its patterning and color, using a recipe of his own making that took three years to develop. Now he’s based in Rome, and the city’s past influences his practice. “My work is inspired by marble and the science of collecting, documenting, and studying it,” he says. While much of his art is commissioned, several of his woven vases and rugs are available through Coming Soon, a contemporary design shop in New York City’s Chinatown.

With each new object, Colantonio expands his practice, cataloging samples and applying what he’s learned to future works. In this way, he is constantly mining antiquity to create something new. “What I love about this medium,” he says, “is that I can push it to do things that other materials can’t.”

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SAJI ABUDE

WHEN HE WAS STUDYING FILM AT

Brook ly n College, Saji Abude found himself drawn to textiles and sewing. It wasn’t just any stitch he wanted to try, but specifically a chain stitch, used in everything from lace-making to crochet to macramé, in which looped stitches form a chain-link pattern. Abude loved the method so much he started a business of the same name (less a T): Chainstich. Soon his embroidery work was being commissioned for everything from clothing (Bode) to interior design (Green River Project; Studio Giancarlo Valle).

Fabric has much to teach us, says Abude, who recently moved from New York to Los Angeles. His broad-ranging use of fabrics includes pieces that nod to everything from Japanese selvedge to Indian and Nigerian embroidery motifs, as well as European lace traditions. “One of my favorite textiles to work with is a good, heavy, raw denim,” he says. “I like that there’s some pushback with it, because that allows for moments of inspiration and innovation that you don’t normally get.”

Meanwhile, he recently launched Sopa, an interior design studio whose first project is Lullaby, a new bar on Manhattan’s Lower East Side. Central to his design philosophy is a deep-rooted sense of optimism: “If there is an overarching theme,” he says, “it’s a desire to create new worlds that feel better than where we are at now.”

Saji Abude in his live-work studio in Los Angeles. RIGHT, FROM TOP: Abude’s sewing machine; an embroidery in progress. instagram.com/chainstich

Sarah Burns outside her studio in Queens, New York.

RIGHT, FROM TOP: A curtained dish cabinet; a “kitchenette”; materials organized in Burns’s studio. sarah-burns.com

THIS PAGE: ELLIOT T JEROME BROWN JR.; KITCHENET TE: ADAM CAILLIER. OPPOSITE PAGE, FAR LEFT AND TOP: JUSTIN CHUNG

SARAH BURNS

FU RN I T U RE D ES I G N E R SA R A H

Burns has tried her hand at many things. Though primarily a woodworker—whittling away out of her Queens, New York, studio—she also uses glass, metal, and enamel, in addition to dealing vintage sterling silver out of her apartment.

In her carpentry, a love of whimsy is subtly acknowledged through curved edges and thoughtful hardware. Her glasswork—including a flower-painted orb—has a romantic quality, and a serious and refined approach to her material choices keeps her designs from getting unnecessarily playful.

Burns credits her childhood in Minnesota for influencing her style.

“My earliest experience working with wood was with my dad,” she says. “He was always fixing things around the house, and he would do so by improvising.” While their neighbors were erecting “fish houses” (temporary structures built on frozen lakes for ice fishing) out of altered tents and corrugated steel, her father was designing and building mini wooden structures, complete with shingles, windows, and a variety of other quirks.

Most of Burns’s work is bespoke, but she will exhibit several designs this spring at Superhouse in New York. Meanwhile, the design community has taken notice: She has been tapped for projects by Ghislaine Viñas, Nate Berkus, and others. “I’ve never been materially driven,” she says, “I’ve always been more interested in problem-solving.”

E L L E D E C O R 107

HEART OF

Designer Rodney Lawrence makes an extremely rare and dramatic Tiffany window the centerpiece of a jewelbox home on the South Florida coast.

GLASS

BY JULIE L ASK Y PHOTOGR APHS BY ANNIE SCHLECHTER ST YLED BY HIL ARY ROBERTSON

108 E L L E D E C O R

A 1910 TIFFANY STUDIOS STAINED-GLASS WINDOW IN THE STAIR HALL OF A HOME IN SOUTH FLORIDA THAT WAS RENOVATED AND DESIGNED BY RODNEY LAWRENCE. For details, see Resources.

Some artworks are conversation pieces. Others completely change the discussion. Falling into the second category is a museumquality stained-glass window that recently found its way to an oceanfront house in South Florida. The window, which Helen Gould, daughter of the Gilded Age railroad baron Jay Gould, commissioned from Tiffany Studios in 1910, was acquired by the homeowner mid-renovation, causing quite a flurry in the entrance hall, where it was set over the staircase.

110 E L L E D E C O R

Interruptions like this do not seem to faze Rodney Lawrence, the New York City–based designer who transformed the six-bedroom residence into a luxurious tropical retreat. Lawrence reconfigured the entrance hall millwork to make room for the window (the custom trim had been freshly fabricated and installed, but please, this is Tiffany). A chandelier, initially meant to be a focal point, was swapped out for a custom fixture by the lighting designer Michael McEwen that glowed in an interesting but not attention-hogging way. And the front door was repainted for a little side dazzle, though the sunburst pattern in the transom was

ABOVE: Rodney Lawrence.

LIVING ROOM (OPPOSITE) COC K TAI L TABLE: Wyeth. SOFAS: Dmitriy & Co. BENC H ES: James Duncan. C HAIRS: Kimberly Denman.

L A MP: Roman Thomas.

ART WORKS: Beatriz Milhazes.

LIBRARY (LEFT) COC K TAI L TABLE: Fernando Mastrangelo.

C HAISE: The Bright Group. L A MP: Tiffany Studios. WALLS: Callidus Guild. TRIP T YCH: Tom Palmer.

removed. “Certain things needed to lighten up and certain things needed to get stronger,” Lawrence says.

The project, an encore collaboration between Lawrence and a longtime client who had relocated to Florida to enjoy a more relaxed lifestyle, represents a dramatic shift in its own right. The client at first intended to build a highly modern, ground-up home on property he had bought in the area. “We were quite deep into it,” Lawrence says. They decided to transform an existing residence instead to reduce the timeline— though ultimately the renovation required two and a half years to complete. “Basically, we touched every surface,” he says.

The starting point was a spec house that was “not your typical Mizner, Spanish-style house,” Lawrence says, referring to South Florida architecture designed by the prolific and influential revivalist Addison Mizner in the early 20th century. He and his client liked that the 15,000-square-foot building had non-Floridian features

such as paneling and columns. And they especially appreciated the way it flowed, how the spaces opened up to each other. “You could stand at one point in the kitchen and see all the way through to the billiard room on the other side of the house,” Lawrence says.

Less appealing were the fixtures and finishes. Lawrence and his client upgraded and personalized almost everything, modifying the profiles on trim and the proportions on ceiling coffers (though they kept a hammered marble living room wall, which sets off one of the home’s colorful paintings by the Brazilian artist Beatriz Milhazes). They had kitchen and bathroom cabinets rebuilt, changed out plumbing, and applied a gloss to the underside of the staircase so it looked like painted wood and not ho-hum plaster.

They ventured outside to jazz up two loggias with metal-framed transoms and sidelights. In one, a “very sad fireplace,” as Lawrence described it, was reclad in coral stone, and the ceiling was painted pale blue.

ELLE DECOR

111

Working with Ben Green of the Miami-based landscape architecture firm Raymond Jungles, they sourced pots for the grounds that would be filled with plants, while mature Florida thatch palms were transferred from another of the client’s properties. “We like to make it look as if it’s always been there, using larger plant material and doing layers,” Green says.

Indeed, the theme of layering is central to the home.

Most surfaces—and many objects—are not exactly what they seem at first but reveal their depths in their own time: The bejeweled spectacle of the Tiffany window almost overwhelms the fawn that sips from a stream against a backdrop of foliage. There is gradual revelation in the Milhazes paintings, which are created with built-up sheets of Mylar harboring submerged forms

BEDROOM SITTING AREA SOFA: Dmitriy & Co. COC K TAI L TABLE: John Pomp. C HAIRS: Modern Living Supplies. SID E TABLE: Holly Hunt.

N ESTI NG TABLES: Paul Mathieu for Ralph Pucci.

PEN DANT: David Wiseman. WALLPAPER: DeGournay. CU RTAI NS: NY Drapery.

112 E L L E D E C O R

under brilliant color. The oak millwork in the interior is composed of tonal layers—sandalwood on gray. All is in the service of a gorgeous complexity.

One might think a commitment to layering would make it easier to alter one’s course in a renovation, but there is nothing haphazard about Lawrence’s work. So when his client fell for a giant canvas by the artist Mark Bradford, the designer had it craned through the office window and repositioned the moldings to allow it to hang on a wall there. He was luckier when the client lost his heart to another Tiffany piece—a rare lamp modeled on a dandelion gone to seed (it set the world record for a Tiffany lamp sold at auction, with a hammer price of $3.7 million). That, thank goodness, fit easily on a bookshelf. ◾

PRIMARY BATHROOM (RIGHT) TU B: Waterworks.

C HAN DELI ER: Ochre.

PRIMARY BEDROOM (BELOW RIGHT) BED: Holly Hunt. SI DE TABLE: Rune NY. LAMP: Alberto Dona. BENC H: The Bright Group.

BUILT In the San Francisco Bay Area, a classic 1970s Eichler house shows its staying power when a clever remodel sets the stage for its owners: a passionate collector and her lively young family.

TO 114 E L L E D E C O R

BY KELSE Y KEITH PHOTOGR APHS BY AL ANNA HALE ST YLED BY GLENN JENKINS

AN ENCLOSED ATRIUM IS ONE OF THE DEFINING FEATURES OF BEN AND FLORIE HUTCHINSON’S NORTHERN CALIFORNIA HOME, BUILT IN 1971 BY JOSEPH EICHLER AND RENOVATED BY GUSTAVE CARLSON DESIGN WITH INTERIORS BY ATELIER DAVIS. For details, see Resources.

LAST

LIVING ROOM SOFA: George Smith.

CHAIRS: Amura from 1stDibs. POUF: Etsy.

COCKTAIL TABLE: Stahl + Band. CONSOLES: Design Public. SIDE TABLE: Pfeifer Studio. RUG: Custom.

SCONCES: WAC Lighting.

WALL PANELING: Western red cedar tongue and groove. CEILING: Painted tongue and groove wood.

ARTWORKS (BACK WALL, FROM LEFT): Molly Metz, Didier William, Mariel Capanna.

EXTERIOR (ABOVE LEFT) BENCH: Mexa Design.

EXTERIOR SIDING: Shou Sugi Ban Accoya.

LANDSCAPING: Ground Cover Landscaping.

PATIO (ABOVE RIGHT) TABLE: RH, Restoration Hardware. CHAIRS: Petite Friture.

In Northern California, the name Eichler is shorthand for a brand of midcentury dwelling with a cultlike following—and an expansive one at that: Developer Joseph Eichler built nearly 11,000

homes between 1949 and 1974. A mong the thousands of Eichlers nestled into the rolling ranchlands of Marin County and clustered i n to c u l - d e - s a c s i n Silicon Valley, only one is sited west of Interstate 280 in the South Bay of San Francisco. The exacting scale, detail, and location of this idiosyncratic residence is no coincidence: The 1971 home was commissioned by John Lynd, a personal friend of Joseph Eichler’s, himself an architect and the founder of Stanford University’s planning department.

Florie Hutchinson, a Swiss American arts publicist, recalls the coup de foudre she felt as she first peered through its windows in early 2018. She and her husband, Ben, an English expat who works in the valley’s tech sector, had been looking for a house they could renovate to accommodate their brood of three, soon to be four, young daughters. Thanks to their girls, in fact, just one year prior Florie had been pushing for a modernization of a different sort: lobbying the Unicode consortium to introduce a less gendered emoji for the word shoe, working with designer Aphee Messer to provide an alternative to the standard stiletto—a royal blue ballet flat.

That ingenuity served Hutchinson well in spotting the family-friendly potential in this particular Eichler.

To bring it into the present day, she enlisted local architect Gustave Carlson and an interior designer out of Atlanta, Jessica Davis of Atelier Davis, whom Hutchinson had befriended years earlier when they were both in an a cappella group at Princeton. “In talking about the couple’s lifestyle with their daughters, it was clear the project wasn’t going to be too precious,” says Davis. “It’s similar for me: I have children, and they live with art and understand the value of things. But I also know that they’re going to get marker on the countertops.”

The home needed to be pragmatic while showcasing Hutch inson’s dua l passions: a rt a nd fa m ily.

Accordingly, Carlson came up with a sensitive scheme for the remodel, all based on how the close-knit family actually lives, works, cooks, and plays. “Eichler was an egalitarian in his design principles,” he says. “I wanted to keep those truths while allowing the house to grow more customized for Ben and Florie.”

ELLE DECOR

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C l ie nt , a rc h ite c t , a n d designer found themselves then uniquely aligned: They relished the home’s original beams, its signature atrium, and the easy f low between indoors and out. But all were wary of common conceptions of what the midcentury looked like and were eager to add color and texture tailored to the family’s character. Thus, the material vocabulary of the interiors had to evolve: Cork flooring was introduced alongside terrazzo, the latter of which went through a dozen iterations before just the right aggregate presented itself; the original wood paneling was updated with a subtle Western red cedar version, typically reserved for exteriors.

In the living room, a Bauhaus-inspired rug custom designed by Cody Hoyt sets off plaid pillows in a Schumacher fabric, both in conversation with the K atja Seib work ha ng i ng above the f i replace.

A color-block grid painting by Cassidy Early holds a place of honor on a ledge above the Hutchinsons’ bed, a custom Atelier Davis design. “I love that Florie was game to play with pattern, which is not something you might think to do in an Eichler, or a house from that period,” says Davis.

The decision to enclose the atrium was crucial, creating as it did a kid-friendly space at the literal center of the single-story residence. “Before the renovation, the atrium was austere, but also a thoroughfare,” Hutchinson says. “I wanted it to feel really homey and welcoming because I knew this would become where the kids would spend their time.”

Just off the atrium is what Hutchinson has dubbed the “single most defining element” of the home: a site-specific plaster fresco, created over the course of five weeks by the artist Mariel Capanna, that spans a 21-foot-long corridor leading to the entrance of the “girls’ wing.” Now, children and parents can walk together through the fresco—in which each section, or giornata, illustrates the family’s history—while getting ready in the mornings or on the way to bed. “I love the romance of it,” says Hutchinson. “It could be around for 10,000 years.” ◾ 118 E L L E D E C O R

LIVING ROOM FLOORING: Terrazzo.

ARTWORK: Shara Hughes.

KITCHEN (OPPOSITE, TOP) ISLAND COUNTERTOP: Walnut wood slab. ISLAND AND CABINETRY PAINT: Hague Blue by Farrow & Ball. CHAIRS: CB2.

SINK: Franke. FIXTURES: Watermark. COUNTERTOP: Dekton. PENDANTS: Schneid from Stillfried Wien.

REFRIGERATOR: Sub-Zero.

OVENS: Blue Star.

ARTWORK: Laeh Glenn.

DINING ROOM (OPPOSITE, BOTTOM) TABLE: Luteca. CHAIRS: Dietiker from 1stDibs.

PENDANTS: Schneid from Stillfried Wien. ARTWORK: Caragh Thuring.

PRIMARY BATHROOM VANITY AND HARDWARE: Custom. TUB: Victoria + Albert. SINK AND SHOWER FIXTURES: Waterworks.

WALL TILES: Ipax. FLOOR TILES: Polvere Ceramic Tiles.

TOWEL RACK: Amba.

SCONCE: Workstead. WALL SCULPTURE: Katie Gong.

GIRLS’ ROOM BEDS: Serena & Lily.

BEDSIDE TABLE: McGee & Co. WALLCOVERING: A-Street Prints.

CARDBOARD INSECTS: Studio Roof. PENDANT: Schoolhouse. ARTWORKS (FROM LEFT): Becky Suss, Rachel Rickert.

PRIMARY BEDROOM BED: Custom. BEDSIDE TABLES: Dowel Furniture.

SCONCES: Lostine.

WALLCOVERING: Marthe Armitage. ARTWORKS (FROM LEFT): Hope Gangloff, Sophie Barber, Andrew Cranston, Jenna Gribbon, Shara Hughes, Jesse Mockrin, Cassidy Early, Grace Metzler, Hope Gangloff.

120 E L L E D E C O R

Homeowner Florie Hutchinson in the atrium with her four daughters, Eloise, Ottilie, Anais, and Beatrice. DAYBED: Custom. RUG: Lulu and Georgia. HALLWAY WALL FRESCO: Mariel Capanna.

RESOURCES Items pictured but not listed are from private collections.

HOUSE CALL Interior design: Billy Cotton, billycotton.com.

PAGE 48: Chair: B&B Italia, bebitalia.com. PAGES 50–51: Console and lamps: Gallery 25, gallery25.co.uk. Rug: Eliko, elikorugs.com. Stove: Ilve, ilveusa.com. Artworks: John Finneran, johnfinneran.info; Olaf Breuning, olafbreuning.com. Side table and sconce: Gallery 25.

FURNITURE FANTASY PAGES 66–67: Coat: Louis Vuitton, louisvuitton.com. Jumpsuit: Erdem, erdem.com. Turtleneck: Dior Homme, dior.com. Shoes: Issey Miyake, isseymiyake.com. Coat: Brandon Maxwell, brandonmaxwell online.com. Vest: 3.1 Phillip Lim, 31philliplim.com. Pants: Isabel Marant, isabelmarant.com.

Boots: Givenchy, givenchy.com.

Dress: Alexander McQueen, alexandermcqueen.com. Coat: Prada, prada.com. Suit: Paul Smith, paulsmith.com. Shoes: Coach, coach.com. PAGES 68–69: Sweater and pants: Fendi, fendi.com. Ring: Givenchy. Shoes: Giuseppe Zanotti, giuseppezanotti.com. Coat, belt, and boots: Givenchy. Top and pants: Marcell von Berlin, marcellvonberlin.com. Coat and boots: Chloé, chloe.com. Dress: Oscar de la Renta, oscardelarenta .com. Dress and boots: Chloé.

Turtleneck: MM6 Maison Margiela, maisonmargiela.com. Bangles: Uncommon Matters, uncommon matters.com. Vest and pants: Versace, versace.com. Turtleneck: Uniqlo, uniqlo.com. Sneakers: Etro, etro.com. Dress and pants: Hervé Léger, herveleger.com. Earrings: Uncommon Matters. Coat and pants: Versace. T-shirt: Berluti, berluti.com.

Shoes: Coach.

HER ROMAN EMPIRE For information on Carolina Vincenti's made-to-measure tours of Rome, please contact her via email: cvincenti@inwind.it.

PAGES 74–75: Pillow fabric: Arjumand’s World, arjumands world.com. Curtain fabric: GP & J Baker, gpjbaker.com. Wall hanging: Isabella Ducrot, isabelladucrot.it.

PAGES 76–77: Flooring: 1925, 1925srl.it. Piano: Steinway, steinway.com. Chair fabric: Arjumand’s World. Bust and sculpture: Giuseppe Ducrot, giuseppeducrot.it. Wall hanging: Isabella Ducrot. PAGES 78–79: Sconce: Baguès, bagues-paris.com.

Wall tiles: Ceramiche Grazia, ceramichegrazia.it.

CURVE YOUR ENTHUSIASM Interior design: Nicole Hollis, nicolehollis.com. Architecture: Stephen Willrich, stephenwillrich architecture.com. Art advisory: Laura Sweeney, lssartadvisory.com.

122 E L L E D E C O R

PAGES 80–81: Sculpture: Yayoi Kusama, yayoi-kusama.jp.

PAGES 82–83: Island and cabinetry: Elementi, elementidesign.com.

Sinks: Blanco, blanco.com.

Fixtures: Waterworks, waterworks .com. Flooring: First, Last & Always, first-last-always.com. Sofa: Collection Particulière, collection-particuliere.fr.

Chairs: Gubi, gubi.com. Cocktail table: Friedman Benda, friedmanbenda.com. Chair: Ralph Pucci, ralphpucci.com. Cocktail table: The Future Perfect, thefutureperfect.com. Pendant: Pierre Augustin Rose, pierreaugustinrose .com. Artworks: Larry Bell, larrybell.com; Richard Prince, richardprince.com.

PAGES 84–85: Wall paneling, fireplace, table, and sconces: Carpenters Workshop Gallery, carpentersworkshopgallery.com.

Chairs: Espasso, espasso.com. Rug: Atelier Février, atelierfevrier.com.

Chandelier: Ralph Pucci. Console: Friedman Benda. Artwork: Keith Haring, haring.com. Bench: Jenny Holzer, jennyholzer.com. Artwork: Yayoi Kusama. PAGES 86–87: Sofa: Minotti, minotti.com. Cocktail table: Friedman Benda. Rug: Atelier Février.

Chandelier: Michael Anastassiades, michaelanastassiades.com. Artwork: Doug Aitken, dougaitkenworkshop .com. Sink: Etage Projects, etageprojects.com. Mirror: Agape, agapedesign.it. Ceiling light: Carpenters Workshop Gallery.

PAGES 88–89: Bed fabric: Sandra Jordan, sandrajordan.com.

Nightstands: David Gill Gallery, davidgillgallery.com. Lamps: Twenty First Gallery, 21stgallery.com. Sofa: Pierre Augustin Rose. Rug: Atelier Février. Pendant: Ayala Serfaty, ayalaserfaty.com. Artwork: Wolfgang Tillmans, tillmans.co.uk.

Console: Gallery FUMI, galleryfumi.com. Artwork: Diana Al-Hadid, dianaalhadid.com.

Pendant: Jeff Zimmerman, r-and-company.com. Rug: Rosemary Hallgarten, rosemaryhallgarten.com.

Tub, vanity, and surfaces: Elementi.

Fixtures: Waterworks. Pendant: Vincenzo De Cotiis, decotiis.it.

OUTSIDE THE BOX Styled by: Marie Trohman, proem.studio.

PAGES 90–91: Sculpture: Lisson Gallery, lissongallery.com.

PAGES 92–93: Sofa: Design Within Reach, dwr.com. Sculpture: Pedro Reyes, pedroreyes.net. PAGES 94–95: Artwork: Marina Adams, marinaadams.com. Stools: Carl Malmsten, carlmalmsten.se. Island: Corian, corian.com. PAGES 96–97: Bedding: Parachute, parachutehome.com. Artwork: Gerard Byrne, gerardbyrneartist.com.

Table and chairs: Pedro Reyes.

A CLASSIC TWO Interior design: William Cullum, jaynedesignstudio.com.

PAGES 98–99: Wall paint:

Benjamin Moore, benjaminmoore.com. Artwork: Fotini Christophillis, fotinichristophillis.com.

PAGES 100–101: Pillow fabrics: Dries Van Noten, driesvannoten.com.

Artwork: Paul Richard, paulrichard .net. Wall piece: Studio Mike Diaz, krbnyc.com.

HEART OF GLASS Interior design: Rodney Lawrence, rodneylawrenceinc.com. Landscape architecture: Raymond Jungles, raymondjungles.com.

PAGE 109: Window: Tiffany Studios, tiffany-studios.com. PAGES 110–111: Cocktail table: Wyeth, wyeth.nyc.

Sofas: Dmitriy & Co., dmitriyco.com.

Benches: James Duncan, james stuartduncan.com. Chairs: Kimberly Denman, kimberlydenman.com.

Lamp: Roman Thomas, romanthomas.com. Cocktail table: Fernando Mastrangelo, fernando mastrangelo.com. Chaise: The Bright Group, thebrightgroup.com. Lamp: Tiffany Studios. Walls: Callidus Guild, callidusguild.com. Triptych: Tom Palmer, tompalmerstudio.com.

PAGES 112–113: Sofa: Dmitriy & Co. Cocktail table: John Pomp, johnpomp.com. Chairs: Modern Living Supplies, modernlivingsupplies .com. Side table: Holly Hunt, hollyhunt.com. Nesting tables: Ralph Pucci, ralphpucci.com. Pendant: David Wiseman, dwiseman.com.

Wallpaper: De Gournay, degournay.com. Tub: Waterworks, waterworks.com. Chandelier: Ochre, ochre.us. Bed: Holly Hunt.

Side table: Rune, rune.nyc. Lamps: Alberto Dona, albertodona.com.

Bench: The Bright Group.

BUILT TO LAST Interior design: Atelier Davis, atelierdavis.com. Architecture: Gustave Carlson Design, gustave carlsondesign.com. Landscape design: Kasorn Piamsukon, groundcoverlandscaping.com.

PAGES 116–117: Sofa: George Smith, georgesmith.com. Chairs: 1stDibs, 1stdibs.com. Pouf: Etsy, etsy.com.

Cocktail table: Stahl + Band, stahlandband.com. Console: Design

Public, designpublic.com. Side table: Pfeifer Studio, pfeiferstudio.com.

Sconces: WAC Lighting, waclighting.com. Artworks: Didier William, didierwilliam.com; Mariel Capanna, marielcapanna.com.

Bench: Mexa Design, mexadesign.com. Table: RH, Restoration Hardware, rh.com.

Chairs: Petite Friture, petitefriture.com. PAGES 118–119: Artwork: Shara Hughes, sharahughesart.blogspot.com. Island and cabinetry paint: Farrow & Ball, farrow-ball.com. Chairs: CB2, cb2 .com. Sink: Franke, franke.com.

Fixtures: Watermark, watermarkdesigns.com. Countertop: Dekton, dekton.com. Pendants: Stillfried Wien, stillfried.com. Refrigerator: Sub Zero, subzero-wolf.com. Ovens: Blue Star, bluestarcooking.com.

Table: Luteca, luteca.com. Chairs: 1stDibs. Pendants: Stillfried Wien.

PAGES 120–121: Vanity: Gustave Carlson, gustavecarlsondesign.com.

Tub: Victoria + Albert, vandabaths.com. Sink and shower fixtures: Waterworks, waterworks.com. Wall tiles: Inax, inaxtile.com. Towel rack: Amba, ambaproducts.com. Sconce: Workstead, workstead.com.

Wall Sculpture: Katie Gong, katiegong.com. Throw blanket: Aloka, alokahome.com. Bedside tables: Dowel Furniture, dowel furniturecompany.com. Sconces: Lostine, lostine.com. Wallcovering: Marthe Armitage, marthearmitage. co.uk. Artworks: Hope Gangloff, hope-gangloff.com; Shara Hughes; Jesse Mockrin, jessemockrin.com.

Beds: Serena & Lily, serenaandlily.com. Bedside table: McGee & Co., mcgeeandco.com.

Wallcovering: A-Street Prints, astreetprints.com. Cardboard insects: Studio Roof, studioroof.com.

Pendant: Schoolhouse, schoolhouse.com. Artworks: Becky Suss, beckysuss.net; Rachel Rickert, rachelrickert.com. Rug: Lulu and Georgia, luluandgeorgia.com.

Wall fresco: Mariel Capanna.

ELLE DECOR (ISSN 1046-1957) Volume 33, Number 2, March 2022, is published monthly except for combined issues in December/January/February and June/July/August, by Hearst, 300 West 57th Street, New York, NY 10019 U.S.A. Steven R. Swartz, President & Chief Executive Officer; William R. Hearst III, Chairman; Frank A. Bennack, Jr., Executive Vice Chairman; Mark E. Aldam, Chief Operating Officer; Catherine A. Bostron, Secretary. Hearst Magazine Media, Inc.: Debi Chirichella, President & Treasurer; Kate Lewis, Chief Content Officer; Kristen M. O’Hara, Chief Business Officer. © 2022 by Hearst Magazine Media, Inc. All rights reserved. ELLE and ELLE DECOR are used under license from the trademark owner, Hachette Filipacchi Presse.

Periodicals postage paid at N.Y., N.Y., and additional mailing offices. Canada Post International Publications mail product (Canadian distribution) sales agreement No. 40012499. Editorial and Advertising Offices: 300 West 57th Street, New York, NY 10019. Subscription prices: United States and possessions: $15 for one year. Canada: $41 for one year. All other countries: $60 for one year. Subscription Services: ELLE DECOR will, upon receipt of a complete subscription order, undertake fulfillment of that order so as to provide the first copy for delivery by the Postal Service or alternate carrier within 4–6 weeks. For customer service, changes of address, and subscription orders, log on to elledecor.com/service or write to Customer Service Department, ELLE DECOR, P.O. Box 37870, Boone, IA 50037. From time to time, we make our subscriber list available to companies who sell goods and services by mail that we believe would interest our readers. If you would rather not receive such offers via postal mail, please send your current mailing label or exact copy to Mail Preference Service, P.O. Box 37870, Boone, IA 50037. You can also visit preferences .hearstmags.com to manage your preferences and opt out of receiving marketing offers by email.

ELLE DECOR is not responsible for unsolicited manuscripts or art. None will be returned unless accompanied by a self-addressed stamped envelope. Canadian registration number 126018209RT0001. POSTMASTER: Please send address changes to ELLE DECOR, P.O. Box 37870, Boone, IA 50037. Printed in the U.S.A.

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JANUS ET CIE & ELLE DECOR CELEBRATE NEW CORAL GABLES SHOWROOM On Wednesday, December 1, JANUS et Cie celebrated the opening of their new Coral Gables, Florida flagship showroom with a rooftop event in partnership with ELLE DECOR. Local clients and guests toured the showroom before enjoying a poolside dinner and live music. janusetcie.com

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TWENTY THREE LAYERS

Poggenpohl introduces a floating worktop for the +MODO kitchen island featuring Rosso Lepanto marble resting on chestnut brown eucalyptus wood cabinetry. This refined culinary workbench sets the stage for kitchen living - an interplay between the countertop, illuminated base cabinets and open shelves. poggenpohl.com

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MY K I N D O F RO OM

LOOKING GLASS For our new column, architect Stephanie Goto reflects on a space that left an indelible impression on her: artist and set designer Es Devlin’s Forest of Us installation in Miami.

“ES DEVLIN’S FOREST OF US IS ONE OF MY

most recent experiences that is beyond art, the spatial, and the architectural, w ith a cu riosit y about natu re a nd humanity. What is especially interesting and inviting about Forest of Us is its inhabitable scale, and that there’s no prescribed way to interact with it: You can engage with it on a deep, philosophical level, or you can simply follow what you’re feeling and seeing. In my practice, I’m always thinking about a dimension of emotion that is beyond the walls of the space. And here every visitor is going to have a different emotional response—therein lies the beauty of it.”

—As told to ELLE DECOR 124 E L L E D E C O R

ART WORK: ES DEVLIN, FOREST OF US, 2021, INSTALL ATION VIEW OF EVERY WALL IS A DOOR, SUPERBLUE MIAMI, 2021; PHOTO: ANDREA MOR A; PORTR AIT: ERIK MADIGAN HECK

ABOVE: Architect Stephanie Goto.

LEFT: Inside Es Devlin’s mirrored Forest of Us, on view at the Superblue Miami exhibition space. superblue.com

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